Tag Archives: folk rock

Big Thief – U.F.O.F.

7 Jun

U.F.O.F. is a beautiful, delicate and scarily intelligent folk-rock album. It’s gossamer and lovely in sound and filled with intricacies and flourishes and sparkles.

“Betsy”, for instance, is calm and unhurried and tranquil. “Jenni” feels like a gentler, slower “Jeremy” and while that may sound like it misses the point, the result is no less intense for how slow it burns. “From” is tender and sophisticated.

For all that softness though, the album is also able to carry off the Velvet Underground-like “Contact” which goes from a slow start to a distortion both unexpected in such a soft album and brilliant for it.

The vocal quivering in “Orange” engage and the lyric of “Orange is the color of my love” is novel. Similarly in “Century”, Lenker’s voice wavers around where you would expect and the unbalancedness that engenders is excellent. It slips a little at the end of the song though and it’s not quite strong enough to carry the vocal-only segments of “Magic Dealer”, but those are the exceptions in a mostly wonderful album.

For all of the innovation of the album, it’s still extremely approachable. The country jangles in “Cattails” are a fascinating evolution of this soft-rock sound, but it also works well on the surface. This is an album that greatly rewards effort from the listener. It has lots of little brilliances flowing through it and is confident enough not to clumsily draw attention to it.

However, no matter your approach, you will enjoy this album. Even at the most shallow listen, it’s exceptional. If you’re willing to meet it halfway though, it’s transcendent.

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Conor Oberst / Phoebe Bridgers – Better Oblivion Community Center

5 Mar

There’s a style of book that I always and incorrectly call modern writing. It’s wry, understated, cynical, honest and very, very clever. It’s also just a little bit precious. It’s Early Work by Andrew Martin but it’s not quite Rabbit, Run by John Updike. It’s also this album.

This shouldn’t be surprising. Both Phoebe Bridgers and Conor Oberst have made their names in this space of indie folk-rock and they’re both very good at it. This album is simply excellent. It’s good, solid guitar work, clean singing and incisive lyrics.

The stand-out is the wonderful “Service Road.” It’s lo-fi and minimal and beautiful. It’s a slow walk in Autumn when you’re sad. Conor Oberst’s voice is excellent here and it delivers the standout stanza of “Asking strangers to forgive him/ But he never told them what it is/ He did to them that made him feel so bad” with so much depth.

That’s far from the only highlight of the album. “Big Black Heart” is excellent with Phoebe Bridgers putting some great snarl into it and with very strong distortion at the end to cap the fuzziness of the song. “My City” is nice and low stakes and relaxing and has a fun jangle behind the verses. “Dylan Thomas” is very clever lyrically and also musically.

Better Oblivion Community Center is a gorgeous album. The singers’ voices mesh well with each other and they think in similar ways. They also have the confidence and sense to know when to let their guitar work stand alone and when to leave space for extended chords and for heavy feedback. It’s a clever, accomplished album and one that’s well worth your time.

@murthynikhil
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